Jernej Habjan – författare

This book explores how the kinds of world-wide restructurings of higher educationand research work that are underway today havenot only increased employment insecurity in academia but may actually beproducing unemployment both for those within academia and forgraduate job-seekers in other sectors. Recent and current re-organisations of higher education and researchwork, and re-orientations of academic life (as students, researchers, teachers)generally, which are taking place around the world, achieve exactly theopposite of what they claim: though ostensibly undertaken to facilitateemployment, these moves actually produce unemployment both for those withinacademia and for graduate job-seekers in other sectors.

Focused on the relation between processes of globalization and literary genres, this volume intervenes in the prevalent notions of globalization, literary history, genre, and the novel. Using both close reading and world history, both literary criticism and political theory, the book is a timely intervention in the debates about world, postcolonial, and transnational literature as they have been intensified by critical globalization studies, world-systems analysis, Bourdieuan sociology, and cosmopolitanism studies. It contends that globalization, far from starting in recent decades, has a long and complex history, not unlike the history of literature itself, meaning that when we speak of globalization and literature, we in effect invoke the entire history of literature. Essays examine literary genres in relation to broader historical processes, connecting the present state of globalization to such key world-historic events as the early modern geographical and scientific explorations, the Enlightenment, the expansions of modernity in the long nineteenth and twentieth centuries, postmodernity and postcoloniality, and contemporary counter-hegemonic movements. The book offers innovative readings of the pastoral from Saint-Pierre to Carpentier; the novel in Kant and Wieland, and in Diderot and Marx; travel writing from Verne to Cortázar; sports writing in James and Kahn; entrelacement in Bolaño, Ghosh, and Soderbergh; and also the Mozambican ghost story, Indian genre fiction, "fake" autobiographies, Sephardic "language memoirs," the postcolonial Gothic, Irish "chick lit," and counter-hegemonic novels. Making important theoretical contributions to a renewed discussion about genre, especially genres of narrative fiction, this volume addresses global studies, the history of the novel, and debates over periodization and nationalism in literary history.

Focused on the relation between processes of globalization and literary genres, this volume intervenes in the prevalent notions of globalization, literary history, genre, and the novel. Using both close reading and world history, both literary criticism and political theory, the book is a timely intervention in the debates about world, postcolonial, and transnational literature as they have been intensified by critical globalization studies, world-systems analysis, Bourdieuan sociology, and cosmopolitanism studies. It contends that globalization, far from starting in recent decades, has a long and complex history, not unlike the history of literature itself, meaning that when we speak of globalization and literature, we in effect invoke the entire history of literature. Essays examine literary genres in relation to broader historical processes, connecting the present state of globalization to such key world-historic events as the early modern geographical and scientific explorations, the Enlightenment, the expansions of modernity in the long nineteenth and twentieth centuries, postmodernity and postcoloniality, and contemporary counter-hegemonic movements. The book offers innovative readings of the pastoral from Saint-Pierre to Carpentier; the novel in Kant and Wieland, and in Diderot and Marx; travel writing from Verne to Cortázar; sports writing in James and Kahn; entrelacement in Bolaño, Ghosh, and Soderbergh; and also the Mozambican ghost story, Indian genre fiction, "fake" autobiographies, Sephardic "language memoirs," the postcolonial Gothic, Irish "chick lit," and counter-hegemonic novels. Making important theoretical contributions to a renewed discussion about genre, especially genres of narrative fiction, this volume addresses global studies, the history of the novel, and debates over periodization and nationalism in literary history.

Focused on the relation between processes of globalization and literary genres, this volume intervenes in the prevalent notions of globalization, literary history, genre, and the novel. Using both close reading and world history, both literary criticism and political theory, the book is a timely intervention in the debates about world, postcolonial, and transnational literature as they have been intensified by critical globalization studies, world-systems analysis, Bourdieuan sociology, and cosmopolitanism studies. It contends that globalization, far from starting in recent decades, has a long and complex history, not unlike the history of literature itself, meaning that when we speak of globalization and literature, we in effect invoke the entire history of literature. Essays examine literary genres in relation to broader historical processes, connecting the present state of globalization to such key world-historic events as the early modern geographical and scientific explorations, the Enlightenment, the expansions of modernity in the long nineteenth and twentieth centuries, postmodernity and postcoloniality, and contemporary counter-hegemonic movements. The book offers innovative readings of the pastoral from Saint-Pierre to Carpentier; the novel in Kant and Wieland, and in Diderot and Marx; travel writing from Verne to Cortázar; sports writing in James and Kahn; entrelacement in Bolaño, Ghosh, and Soderbergh; and also the Mozambican ghost story, Indian genre fiction, "fake" autobiographies, Sephardic "language memoirs," the postcolonial Gothic, Irish "chick lit," and counter-hegemonic novels. Making important theoretical contributions to a renewed discussion about genre, especially genres of narrative fiction, this volume addresses global studies, the history of the novel, and debates over periodization and nationalism in literary history.

Focused on the relation between processes of globalization and literary genres, this volume intervenes in the prevalent notions of globalization, literary history, genre, and the novel. Using both close reading and world history, both literary criticism and political theory, the book is a timely intervention in the debates about world, postcolonial, and transnational literature as they have been intensified by critical globalization studies, world-systems analysis, Bourdieuan sociology, and cosmopolitanism studies. It contends that globalization, far from starting in recent decades, has a long and complex history, not unlike the history of literature itself, meaning that when we speak of globalization and literature, we in effect invoke the entire history of literature. Essays examine literary genres in relation to broader historical processes, connecting the present state of globalization to such key world-historic events as the early modern geographical and scientific explorations, the Enlightenment, the expansions of modernity in the long nineteenth and twentieth centuries, postmodernity and postcoloniality, and contemporary counter-hegemonic movements. The book offers innovative readings of the pastoral from Saint-Pierre to Carpentier; the novel in Kant and Wieland, and in Diderot and Marx; travel writing from Verne to Cortázar; sports writing in James and Kahn; entrelacement in Bolaño, Ghosh, and Soderbergh; and also the Mozambican ghost story, Indian genre fiction, "fake" autobiographies, Sephardic "language memoirs," the postcolonial Gothic, Irish "chick lit," and counter-hegemonic novels. Making important theoretical contributions to a renewed discussion about genre, especially genres of narrative fiction, this volume addresses global studies, the history of the novel, and debates over periodization and nationalism in literary history.

The first extended Lacanian reading of J. L. Austin''s ordinary language philosophy, this book examines how it has been received in the continental tradition by Jacques Derrida and Judith Butler, Jacques Rancière and Oswald Ducrot. This is a tradition that neglects Austin''s general speech act theory on behalf of his special theory of the performative, whilst bringing a new attention to the literary and the aesthetic.The book charts each of these theoretical interactions with a Lacanian reading of the thinker through a case study. Austin, Derrida and Butler are respectively read with a Hollywood blockbuster, a Shakespearean bestseller and a globally influential May ''68 poster – texts preoccupied with the problem of subjectivity in early, high and postmodernity. Hence Austin''s constatives (nonperformative statements) are explored with Dead Poets Society; Derridean naming with Romeo and Juliet; and Butlerian aesthetic re-enactment with We Are all German Jews. Finally, Rancière and Ducrot enable a return to Austin beyond his continental reception. Austin is valorised with a theory as attractive, and as irreducible, to the continental tradition as his own thought, namely Jacques Lacan''s theory of the signifier.Drawing together some of the giants of language theory, psychoanalysis and poststructuralist thought, Habjan offers a new materialist reading of the ''ordinary'' status of literary language and a vital contribution to current debates within literary studies and contemporary philosophy.

The first extended Lacanian reading of J. L. Austin’s ordinary language philosophy, this book examines how it has been received in the continental tradition by Jacques Derrida and Judith Butler, Jacques Rancière and Oswald Ducrot. This is a tradition that neglects Austin’s general speech act theory on behalf of his special theory of the performative, whilst bringing a new attention to the literary and the aesthetic.The book charts each of these theoretical interactions with a Lacanian reading of the thinker through a case study. Austin, Derrida and Butler are respectively read with a Hollywood blockbuster, a Shakespearean bestseller and a globally influential May ’68 poster – texts preoccupied with the problem of subjectivity in early, high and postmodernity. Hence Austin’s constatives (nonperformative statements) are explored with Dead Poets Society; Derridean naming with Romeo and Juliet; and Butlerian aesthetic re-enactment with We Are all German Jews. Finally, Rancière and Ducrot enable a return to Austin beyond his continental reception. Austin is valorised with a theory as attractive, and as irreducible, to the continental tradition as his own thought, namely Jacques Lacan’s theory of the signifier.Drawing together some of the giants of language theory, psychoanalysis and poststructuralist thought, Habjan offers a new materialist reading of the ‘ordinary’ status of literary language and a vital contribution to current debates within literary studies and contemporary philosophy.

The first extended Lacanian reading of J. L. Austin''s ordinary language philosophy, this book examines how it has been received in the continental tradition by Jacques Derrida and Judith Butler, Jacques Rancière and Oswald Ducrot. This is a tradition that neglects Austin''s general speech act theory on behalf of his special theory of the performative, whilst bringing a new attention to the literary and the aesthetic.The book charts each of these theoretical interactions with a Lacanian reading of the thinker through a case study. Austin, Derrida and Butler are respectively read with a Hollywood blockbuster, a Shakespearean bestseller and a globally influential May ''68 poster – texts preoccupied with the problem of subjectivity in early, high and postmodernity. Hence Austin''s constatives (nonperformative statements) are explored with Dead Poets Society; Derridean naming with Romeo and Juliet; and Butlerian aesthetic re-enactment with We Are all German Jews. Finally, Rancière and Ducrot enable a return to Austin beyond his continental reception. Austin is valorised with a theory as attractive, and as irreducible, to the continental tradition as his own thought, namely Jacques Lacan''s theory of the signifier.Drawing together some of the giants of language theory, psychoanalysis and poststructuralist thought, Habjan offers a new materialist reading of the ''ordinary'' status of literary language and a vital contribution to current debates within literary studies and contemporary philosophy.